Old Monrovia Gas Pump

15"x10" oil on masonite panel •••I have hesitated showing you this painting before, not because of the
painting itself, but because of the photograph of the painting. You see,
this piece was "professionally" photographed and I had not come to
terms with that, until today. So here it is. •
Whenever I am lucky enough to discuss my paintings with the poor
suffering photographer, we often disagree on the outcome, but we almost
always find common ground on what it took to achieve that outcome. Our
mutual whine isn't about the peaks and valleys of my carvings—they
usually can be overcome with good lighting and the use of cross
filtering and a subtle voodoo chant (or two). No, our communal angst is
focused on my color work. There is always a sentence in our discussion
that resembles this: "Man, I love your work, but your @#$%& colors
drove me nuts!" To which I respond with a hearty, "Thank you!" •••
Color experimentation is integral to what I do. A result of this
push-pull—especially clashing my warms and cools together against their
will—is that some of my color mixing has become simplified. Sometimes a
color that might have included 5 to 6 members on my palette, may now be
made up of only 2 to 4. This usually increases the fight, making it
harder to achieve whatever my addled brain is trying to achieve. •
The painting above may not be the best example of the following, but if
you ever see me refer to "sweet" colors, simplified color mixing is
often what I am talking about. The purer the color is from the tube, the
sweeter it is. I guess sweet is my lazy term for intensity. Or, it
could just be me thinking about cookies.

Go on, Do it, it's free!

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